Join the maddest tea party in town this summer, with the Sydney Opera House’s brand new tea party with a twist – The Funatorium.
Directed by former Circus Oz Artistic Director, Mike Finch, the Funatorium is a wild show for kids full of top talents from the worlds of circus and cabaret.
Inspired by Lewis Carroll’s classic story, Alice’s Adventures In Wonderland, the Funatorium is a completely immersive, engaging and absolutely crazy cabaret that is designed to enthral the littlest guests and leave them wondering if what they’ve seen on stage is magic or trickery, or just absolute mayhem.
Kids who love the story will adore seeing some of their favourite characters brought to life, such as the Mad Hatter, March Hare and the Red Queen. Those who aren’t familiar with the story will still enjoy the show immensely however, as, just as the tea party in Alice in Wonderland is a manic array of nonsense, so to is this one. It’s funny, silly and breathtaking as a stand alone show.
The feverish blend of acrobatics, juggling, singing, hula-hooping, balancing, aerial acts, singing and comedic acts is the perfect mix of charm, delirium and total chaos. So, basically, the most perfect tea party a kid (or their parent!) could imagine.
Tips For Attending The Funatorium
Most searing is General Admission. Queues begin to form about 45 minutes before the show starts, so I would advise lining up early to get good seats.
Kids hungry? The snack bar has a Mad Hatter’s Kids’ Tea available for $15 that includes a juice box, small cupcake, popcorn, fruit and Smarties.
If you’re coming in on a week day, the cheapest option is bus and train to Circular Quay. On weekends, use Book-A-Bay to get a cheaper parking spot under the Sydney Opera House.
Give the kids plenty of time before and after the show to enjoy the free Summer Playground, which is run both inside and outside the Playhouse until January 29, 2017 and includes plenty of large games and a large sandpit.
The Funatorium January 7 – 22nd, 2017
Recommended for ages 5 and up
The Studio, Sydney Opera House Buy Tickets
Thank you so much to the Sydney Opera House for hosting us. All opinions are our own.
These school holidays, treat the kids to Swamp Juice, the award-winning show that’s toured the world and is now coming to Sydney this January.
Swamp Juice is a ridiculously fun shadow puppetry show for kids aged seven and up. It was a sell-out hit at the Edinburgh Fringe Festival, with theatre critics calling the show “ Innovative” and “memorable”, from the Times, and “Breathtaking… Wonderfully enchanting… A heartwarming, funny show for children of all ages”, from the Evening Standard.
The show creatively makes shadow puppets out of bits of rubbish and household objects to tell the story of bickering snails, a neurotic snake and an opera singing mouse with a jaw-dropping 3D finale! This is a swamp like no other!
Swamp Juice is presented in Australia by Monkey Baa Theatre Company, based at the Lendlease Darling Quarter Theatre in Sydney. We’ve been seeing their excellent productions for the past two years, and are always impressed by the exciting, inventive and fun shows that they put on for kids.
Monkey Baa is actually Australia’s widest-reaching touring company, having conducted over 25 national tours to 135 regional and remote communities across every state and territory of Australia, 3 international tours and over 2,500 performances, and engaged with 1.2 million young people. It’s Monkey Baa’s goal to provide young people with fantastic theatre experiences no matter where they live or what their economic situation might be.
The company is also passionate about showcasing Australian cultures and stories, and work hard to create shows that offer young people a truly multifaceted reflection of the world we all inhabit.
A Bunk Puppets production, presented by Monkey Baa Theatre Company
Where: Lendlease Darling Quarter Theatre, Terrace 3, 1-25 Harbour Street, Sydney (opposite the Darling Quarter children’s playground)
When: 17 – 21 January, 10.30am & 12.30pm
Suitable for: ages 7+
Duration: 55 minutes
Tickets: $29 adult/child; $104 family of 4; $125 family of 5
After the show, check out the Darling Quarter playground directly opposite the theatre and enjoy lunch in one of the area’s many cafes, or bring a picnic and enjoy it in the sun on one of the many green areas.
This article was produced in conjunction with the Monkey Baa Theatre Company. All opinions are, as always, my own. We genuinely love their productions and think readers will enjoy their new show.
Room On The Broom is a classic story, written by Australian author Julia Donaldson. The story has been adapted into a gorgeous stage show that has returned this December to the Sydney Opera House to wow children and their accompanying adults with its wit, joy and fun.
The very simple story of a witch and her cat who are happily flying on their broom until a stormy wind blows the witch’s hat, bow and wand away is a lyrical adventure performed with clever dialogue and catchy songs by a colourful cast of endearing characters.
This lively performance with gorgeous puppetry takes the audience on a delightful journey to find the lost things, make new friends, and come face-to-face with a dragon.
Along the way, the characters learn the importance of friendship, sticking together and realise that there is, in fact, room on the broom for everyone. A very simple story with an important message for us all. No matter our kind or creed, there is room for us all.
Room On The Broom is a highly engaging show for children ages three and up. Limited seats are still available to its two remaining shows.
Room On The Broom Sydney Opera House Dates: 9 – 23 December Prices: Standard $30 – $40, Insiders $24 – $32 (Booking fee applies per transaction) Tickets: sydneyoperahouse.com
We were guests of the Sydney Opera House for reviewing purposes, and were under no obligation to write about our experience. Both the kid and I really enjoyed this show and highly recommend it.
From the creators of the biggest-selling magic show internationally, The Illusionists, and the award-winning puppeteers of War Horse comes Circus 1903, a show that blends the best of both predecessors into a breathtaking performance inspired by the golden age of circus.
This all-age show features turn-of-the-century circus acts with a modern twist. Authentic period costumes and careful set design combined with dangerous and jaw-dropping acts left this theatre goer and her five-year-old daughter completely captivated, often gaping in awe, and occasionally hiding behind our hands when some of the more thrilling acts were being performed.
The cast of talented performers have been sourced from all over the globe – strong men, contortionists, acrobats, knife throwers, high wire and tumblers. So much incredible talent left our hands numb from clapping and cheering.
Traditional circuses of this era used live performing animals such as elephants – an incredibly inhumane practice that is thankfully dying out. Circus 1903 does an excellent job of paying homage to the magnificent animals that spent their lives entertaining the public through incredibly innovative puppetry.
To say that the moment with the enormous elephant puppets on stage is show stopping would be an understatement. The clever puppeteers did a tremendous job bringing these enormous pachyderms to life, creating true works of art that are beautifully nostalgic as well as exciting to watch.
This is a truly captivating circus extravaganza that is perfect for audiences of all ages.
Q: Is this family friendly? Can I bring my kids?
A: Absolutely. This is a show for all ages!
Q: Does Circus 1903 feature a live elephant?
A: No. The elephants featured in Circus 1903 are puppets, brought to life by the talented team at Significant Object (the award-winning puppeteers from War Horse). Circus 1903 is a very unique show in that it takes aspects of the traditional circus but puts a fresh, innovative and more humane spin on them. One of those new directions is using carefully constructed and realistic puppets in place of actual animals.
CIRCUS 1903 – The Golden Age of Circus Concert Hall, Sydney Opera House Sunday, December 18 – Thursday December 29, 2016. Prices: Standard from $74.90, child from $48.90 (plus transaction fee of $5 – $8.50per order) Bookings: (02) 9250 7777 or sydneyoperahouse.com More Info: sydneyoperahouse.com/whatson/circus_1903 or circus1903.com
We attended the show as guests and under no obligation to promote or write about it. We generally absolutely loved the show.
“We’re going to the circus!” I announce to my five-year-old daughter, wanting to surprise her with a special treat. “Not with animals?” she looks at me somewhat confused. “No, with people!” I explain. “Ahhh, acrobats!” she crows, delighted at her good fortune of being taken on a special date, just the two of us.
“Will there be tightrope walkers? And jugglers?” she asks, her only point of reference for a circus a traditional one from well before the time she was born. “Ummmm,” I reply, not sure how to answer. When you’re going to watch Cirque Du Soleil, all expectations on what you’re actually going to see on stage go out the window. It could be literally any physical feat, and usually more bizarre than your imagination can dream up. “I guess we’ll see,” I finally say, and off we go to the big top in Sydney’s Moore Park, and excitedly take our seats.
Cirque Du Soleil has been wowing audiences with electrifying shows since their humble beginnings as a group of 20 street performers in Baie-Saint-Paul, a small town near Quebec City, in Canada. The band of colourful characters entertained people on the streets with stilt-walking, juggling, dancing, breathing fire, and playing live music. Old-school circus acts, performed with what would become their trademark drama and flair.
The company is still based in Quebec, and now has close to 4,000 employees, including 1,300 performing artists from around 50 countries around the world. They’re performed in over 300 cities in over 40 countries on six continents – and tonight, they’re in Sydney, Australia.
Much to my delight, Kooza pays homage to Cirque Du Soleil’s traditional circus roots with a combination of acrobatic performance and the art of clowning. The acts my daughter mentioned? They’re all there and she is thrilled. Stilt-walkers, jugglers, dancers, contortionists and tight-rope walkers. Every single circus act we could have possible hoped for was entwined in Kooza’s thrilling story of an Innocent’s discovery of light and dark magic.
Kooza cleverly weaves a tale about discovery, fear and power through a jam-packed show filled with acrobatic acts and tension-breaking light humour. The central character, The Innocent, is our guide on a journey of thrills, suspense and moments where our hearts almost stop watching the death-defying feats in front of our eyes.
While the adult in me sees the occasional safety gear go up for some of the more terrifying acts, my daughter is focussed only on the action and is genuinely worried about the well-being of the acrobats. “That doesn’t look very safe,” she whispers in my ear as a man dressed as the devil jumps on top of a spinning “wheel of death” that soars right to the top of the tent roof and proceeds to flip into the air.
She’s right – it’s part of the show’s illusion to make every act look effortless, while tapping into our sub conscious desire to see how far a human body can be pushed before it breaks. Will they fall? In a few spots, they almost do, and a collective gasp goes up in the audience to see a wobble or slight slip. They are fragile human beings and this is real life, not a movie with trick photography at work. If they fall it’s a long way down.
I point out the safety net that springs up when the tightrope walkers get particularly daring, and the hook that is attached to the man who balances with one hand on top 10 chairs to show her there is nothing to fear. “Even if they fall, they’ll be ok,” I whisper back, and she lets out the biggest sigh of relief I’ve heard from her, and spends the rest of the show pointing out the safety equipment to me, so I won’t be scared either.
The show draws to its close and I realise I’ve been holding my breath for much of it, perched on the edge of my seat. For two hours, we’ve been thoroughly immersed in a fantastical dreamscape world where acrobats are able to do the impossible – perform tricks that my mind can’t comprehend as possible for a human body to be able to do.
My daughter, after her first circus experience ever, is forever changed. Her world has expanded and her imagination unlocked. She’s seen with her own eyes the heights and athletic ability that a human body can reach, and the daring that some souls possess to push themselves past limits the rest of us would quite frankly baulk at. She is among many children in the tent, the next generation who are growing up with Cirque Du Soleil being the the only circus they’re likely to experience.
The audience leaves the tent uplifted and with stars in their eyes. We’ve seen great things today and will tell our friends about that time we saw a man leap aboard a spinning wheel of death and survive what looks impossible, or about the lady who spun from a hoop high in the air, saved from plummeting to the ground only by her neck. It’s the kind of stuff you never forget that you’ve seen.
My five-year-old wants to run away and join the circus. Come to think of it, so do I. We’d better start working on our acts.
Tips for seeing Kooza by Cirque Du Soleil
Parking at the Entertainment Quarter is actually quite reasonable. 3-4 hours is only $10.
If you’re taking kids, ask for a booster seat when you enter the seating pavilion.
Bathrooms are outside the pavilion so go beforehand.
Find your seats at least 10 minutes before the show starts so you don’t miss the pre-show entertainment.
The best place to see the show is smack bang right in the middle of the front section as this is where much of the action faces. Don’t fret if you’ve already bought tickets on the side though as the whole show is still visible from the entire ring.
The show is quite long for littles to sit through – an hour and a bit for the first half, followed by a 30 minute interval and then 45 minutes for the 2nd half.
If you are considering taking little ones, be aware that there are loud noises at times and a few scary themes like skeletons.
Water is provided for free near the bar areas so you can take your own water bottle as long as it’s not glass, and refill it.
Snacks and drinks are permitted into the pavilion.
Catch KOOZA by Cirque du Soleil in a city near you:
Sydney – Now playing until November 13 2016, Entertainment Quarter, Moore Park
Brisbane – From November 24 2016, Skygate Brisbane Airport (near DFO)
Melbourne – From January 20 2017, Flemington Racecourse
Perth – From April 13 2017, Belmont Park Racecourse, Victoria Park Drive (off Farmer Freeway), Burswood
Tickets at http://www.cirquedusoleil.com/kooza
Thank you Cirque Du Soleil for tickets to see the show. All opinions are my own.
We were very fortunate to receive tickets to see The Very Hungry Caterpillar at the Sydney Opera House.
We arrived with time to spare and given that the Opera House is such a special venue, my kids had a little treat before the show. Some Very Hungry Caterpillar Cupcakes. A little steep at $5 each however both kids devoured the whole cupcake (they normally just eat the top!) and sadly, I did not get a chance for a pic or a taste. For the sugar conscious there was not too much icing on the top.
I really had no expectations for the show and did not get a chance to watch the promo video. The book by Eric Carle is a favourite at home and we have read it many times over the years. I was also a bit apprehensive to attend the show on my own with Miss 5 and Mr 2.8 year old. However, the moment the show started my kids along with everyone else were captivated. They enjoyed every part, interacting and participating with the actors and the charming puppets.
The Very Hungry Caterpillar was an amazing production where everything was created with kids in mind. The stories were beautifully presented through the stage, the music and the puppets. It exceeded my expectations as I had no idea that the production would cover three more of Eric Carles’ books: ‘The Artist Who Painted a Blue Horse’, ‘Mister Seahorse’ and ‘The Very Lonely Firefly’. The Artist Who Painted a Blue Horse and Mister Seahorse were my little man’s favourite in terms of the puppets and stage props. He kept pointing out and repeating the names of all the animals and the fish. Clapping with excitement after each one left the stage.
And of course the final story ‘The Very Hungry Caterpillar’ had most of the kids and adults reciting the lines from the book with the actors. Naturally, the ending was Miss 5’s favourite part.
My only very minor negative was with my 2.8 year old getting restless in the last 10 minutes of the show. However, the puppets and I managed to contain him.
Overall, I highly recommend anyone with children aged 2 to 5 years to go and see this wonderful production. It is my favourite kids show so far and I would take my youngest to see it when it comes back again.
The Very Hungry Caterpillar is playing at the Sydney Opera House until October 9, 2016.
Thank you so much to the Sydney Opera House for tickets for reviewing purposes. The show is absolutely magical and all opinions are the writer’s own. Additional show images courtesy of the Sydney Opera House.
Take a walk on the wild side with a show 65 million years in the making. Dinosaurs once again roam the world thanks to the magic that is Erth’s Dinosaur Zoo.
During this educational and entertaining show, kids have the opportunity to get up close to prehistoric creatures that have been discovered in Australia such as the Australovenator, AKA the cute baby dinos that make the crowd go “Awwwww” and the Meganeura, an insect from the Carboniferous period (approximately 300 million years ago), which looked like a mammoth dragonfly.
Scientific facts fly hard and fast during the show, and the audience has to think fast to keep up. Dinosaur devotees will be thrilled to learn about these lesser-known Aussie dinos, in the most entertaining way possible – through first-hand experience.
The real genius of Erth’s Dinosaur is creative way in which they blend fun and fact. Give a kid a lecture on dinosaur history and they’ll probably doze off. Give them a dinosaur to pat on the head, and they’ll be entranced for hours.
And it’s not just the kids who can’t take their eyes off the dinosaurs. Watching these incredibly realistic creatures walk around the stage is an entertaining experience for the adults, too.
With its mix of kid jokes and adult humour, audience participation and a deliciously scary moment or two, it’s hard to tell who enjoyed the show more – the kids or their parents. It’s easy to see why Erth’s Dinosaur Zoo is a hit of sauropod proportions.
Erth’s Dinosaur Zoo is recommend for ages 5 and up. I would heartily agree with this recommendation due to language (lots of big words that littlies won’t understand) and also a truly terrifying carnivore.
Stick around after the show to enjoy the free activities for kids offered by The Seymour Centre, including The Owls Apprentice by Little Wings Puppets, a beautiful show combining shadow puppetry, hand puppetry and storytelling, Polyglot Theatre’s Forest Feast, where children will create a feast of food from craft items, and Ants, an interactive roving performance where human-sized ants and children work together in a gentle and unusual landscaping project.
Catch Erth’s Dinosaur Zoo at the Seymour Centre Dates: 27, 28, 29, 30 Sept and 1 Oct, two shows a day: 10.30am and 12.30pm Prices: All tickets $22 available via Box Office (02) 9351 7940 or http://www.seymourcentre.com Address: The Seymour Centre – Corner of City Rd and Cleveland St, Chippendale
Full School Holidays Program: http://www.seymourcentre.com.au
I received tickets to Erth’s Dinosaur Zoo for reviewing purposes. I absolutely loved the show and all opinions written here are my honest feedback.
There is a fantastic arts festival for kids running over the current school holidays at the Riverside Theatre in Parramatta. Called the “Spot On Children’s Festival”, it’s the fifth year that the Riverside Theatre has played host to a program of award-winning shows, relaxed performances and free activities.
It was our first time at Spot On, and we highly enjoyed the performance we came to see: The Owl’s Apprentice.
The show is a gorgeous mix of shadow and hand puppetry with physical comedy by the Little Wings Puppets company.
The recommended age for the show is 4-8 which I think is spot on. The kids laughed hard at jokes that included the word “bottom”, or related to wombats pooping squares, but I’m also sure that they absorbed the message at the heart of the show – that wisdom isn’t something that can be taught, but is the culmination of many life experiences.
Outside the theatre, in the courtyard of the theatre, a large variety of free activities have been set up for the duration of the festival, including Kinderling Radio, balloon-twisting, face painting, craft activities, a play gym, a photo booth, a chalk wall and more.
If you’re looking for a fun way to spend a day during the school holidays, I highly recommend checking out a show at the festival that is running until Oct 2 (so get in quick!).
What: Spot On Children’s Festival Dates: 27 September to 2 October 2016 Tickets: Free to $20. From the Box Office (02) 8839 3399 or http://www.riversideparramatta.com.au Venue: Riverside Theatres – Corner of Church and Market Streets, Parramatta Ages: Children aged 1-12 years
· The Listies 6D – 10.30am on 27 and 28 Sept; 1pm on 28 Sept
· The Owl’s Apprentice – 10am and 12.30pm on 27 and 28 Sept. Relaxed performance at 12.30pm on 27 Sept
· Curious Jac – 10am and 12.30pm on 29 and 30 Sept. Relaxed performance 12.30pm on 29 Sept
· Play Along with Sam – 11am and 2pm on 29 Sept
· The Young King – 10.30 am and 1pm on 29 Sept to 1 Oct
· Maya the Bee Movie – 2.15pm on 29 Sept
· In a Deep Dark Forest –12pm and 3pm on 30 Sept, 9:30am, 12pm and 3pm on 1 and 2 Oct
· Blinky Bill the Movie – 2.15pm on 30 Sept
· The Iron Giant: Signature Edition – 2.15pm on 1 Oct
· Kubo and the Two Strings – 2.15pm on 2 Oct
Thank you to the Spot On Children’s Festival for inviting us to check out The Owl’s Apprentice. We absolutely loved the show.
I had the immense privilege of seeing the new Disney Aladdin musical comedy this week. While the show holds its own as a brilliant stand alone show, it is a reworking of the famous animated movie of the same name that the majority of the audience had seen, many times over, judging from the singing breaking out around the theatre.
With such a cultural icon as the basis for the show, it’s inevitable that audience will walk in with expectations that it will be identical to the movie – which it isn’t. Many things that worked in a cartoon just don’t work on stage, and there were a lot of holes in the movie that have now been filled with additional songs and dialogue. I found the show to be full of unexpected surprises that added up to a spectacularly enjoyable experience for both fans of the movie, as well as newcomers to the story.
Thinking of going? Here are a few things you won’t expect:
Aladdin isn’t the star of the show
The name of the show is Aladdin, so you expect the star to be … Aladdin, right? This was the number one surprise of the show. Genie, the role which Robin Williams famously stole the show with in the 1992 animated movie, is again the attention grabbing character who has the funniest lines, the most dramatic exits and some very impressive vocal pipes. We were incredibly lucky to see the role of Genie being played by Michael James Scott, who starred in the original cast of Aladdin when it opened on Broadway in New York in 2014. His immense presence and incredible talent steal every scene he features in.
The genie isn’t blue
Expecting a painted blue man to play the genie? Guess again. The genie looks like a pretty regular fellow in the show, dressed in royal blue as a nod to the all-blue genie we are used to from the animated classic.
You won’t know all the songs
You might remember the animated Aladdin as being full of songs, but more were clearly needed to turn a 90-minute movie into a 2-and-a-bit-hour stage show. You will hear all of your faves (and have to fight the urge to sing along), plus seven brand new songs written just for the show. The added songs give an extra depth to the show, letting us learn more about the characters of Aladdin and Jasmine in particular.
There are no talking animals
When translating the movie to the stage, a few tricky characters, namely Iago the parrot, Abu the monkey and the magic carpet all either underwent transformations or were axed completely. Iago came out of it the best off, with a larger role now as a human sidekick with a few witty parrot references to give a nod to his roots. Abu is gone, and carpet only features twice as an actual carpet rather than a character.
Australia gets a few mentions
The audience laughed with appreciation to hear local references like Vegemite, Tim Tams and Wagga Wagga peppering the dialogue. I always think it’s a smart move to adapt shows to their destination, and it certainly warmed the audience in this case even more so towards the Genie, who was the Tim Tam addict among the cast.
There’s tap dancing
I bet you didn’t expect that! The show is full of spectacle – shooting lights, shiny materials and sparkles galore, bright props and dazzling costumes. Of course there is a tap dancing number to add to the show’s show-stopping scene in the Cave of Wonders, which also features a take on Dancing with the Stars – but now Scimitars (get it?).
There’s a new scene
The original movie has a tricky scene where Aladdin is briefly banished by Jafar to a desert, where he summons the genie and is quickly returned to Agrabah again. This scene was integral for Aladdin to use his second wish, but obviously a tricky one to bring to the stage. The producers have done an excellent job of getting the same result (the second wish being spent) but with a completely new scene that is far more entertaining than the one it replaces.
It’s less scary than the movie
I remember the movie being pretty scary when I was a kid, and my four-year-old finds parts of it terrifying. For some reason, when translated on stage, the scary bits don’t seem scary any more. The cave has a sense of humour this time around, and the scary snake scene at the end is now completely gone.
It’s funnier than the movie
There are so many hilarious one-liners (“Welcome to Agrabah – land of one percent body fat!”) and cultural references peppering the dialogue that you need to focus hard to stop your head from spinning.
They’ve bought out every sequin store in Sydney
I mean really, where did all those sequins come from? The cast were glittering so much that it looked like they’d raided the Tower of London for their jewels, and then every Spotlight and Lincraft to dazzle the audience’s eyes with so much glitz it was almost blinding at times.
The flying carpet will make you cry
The flying carpet scene is a highlight in the movie and again in the show. Thanks to brilliant staging and props, the scene with the carpet is breathtakingly beautiful, in an understated way that makes the emotion forefront and evokes the magic of the original movie. I wasn’t the only one with a tear in my eye during this song that sent the audience into a hushed state for the first time since the curtain rose.
Aladdin has mates
He actually has a trio of mates that form his entourage in the show; one of them deliciously camp, one obsessed with hummus, and the last your average Joe. The three get some excellent stage time with comedic song and dance routines. Having friends makes Aladdin seem more of a real-life character – how had I never wondered who he hung out with all day when I used to watch the original movie?
The Cave of Wonders scene is a show stopper
The cast also seemed shocked when the applause and cheering at the end of the “Friend Like Me” number went on for so long that the next scene was delayed in starting by a good minute or so. The cheering would likely have keep going, had it not been for the orchestra kicking off the next number and forcing the show to resume. The faces of the cast when the shouting and clapping just kept going and going was absolutely priceless.
Should I take my child to see Aladdin?
Disney recommends the show for kids aged six and up. With the long running time and also new songs that are a bit more “adult”, I would agree with this recommendation. I am, however, taking my just-turned-five-year-old to see the show because she’s been begging to see it. If you’re taking your little one to see it too, here are my tips for making the outing a success:
Book a matinee. Kids are always better rested and behaved for matinees and less likely to irritate adults who want a kid-free evening out. No one likes to have a child kicking their seat for the entire show.
Buy the Broadway cast album and play it repeatedly in the car for the weeks leading up to the show to prepare them for the new songs.
Pick up a booster seat from the cloak room.
Pack plenty of snacks like popcorn or whatever special treats they’re allowed.
Take them to the bathroom both before the show starts, and straight away at interval.
Disney Theatrical Productions under the direction of Thomas Schumacher presents Aladdin, music by Alan Menken, lyrics by Howard Ashman and Tim Rice, book and additional lyrics by Chad Beguelin at Capitol Theatre Sydney, starring: Ainsley Melham (Aladdin), Michael James Scott (Genie), Arielle Jacobs (Jasmine), Troy Sussman (Babkak), Adam Jon Fiorentino (Kassim), Robert Tripolino (Omar), Adam Murphy (Jafar), Aljin Abella (Iago) and George Henare (Sultan) directed and choreographed by Casey Nicholaw
Thank you to Bridges PR for the tickets to see Aladdin. All opinions are my own. Show images by Deen van Meer.
I first saw We Will Rock You, the brilliant show blending Queen’s legendary songs with Ben Elton’s comic genius, in London 10 years ago. When I saw the show, I thought it was groundbreaking, hilarious, uplifting and wildly entertaining. In short, everything a good theatre show should be.
Lucky, lucky us, We Will Rock You is touring Australia right now. It’s an updated version of the production that retains the brilliance of the original, with a bit of a modern facelift and location-relevant references.
The show is set in the year 2350, where live music is banned on Earth. A rebellious few fight against their force-fed diet of synthesized pop and controlling government, choosing individualism, real-life interactions and creativity over lives lead on the internet and assimilating into assigned groups, leading pre-arranged lives.
We Will Rock You has been a smash hit show since it debuted in London in 2002. Since then it has won the Olivier Audience Award for Most Popular Show in 2011 (British theatre’s
answer to the oscars), played over 3600 performances in the UK (with over 3600 standing ovations), selling over 6 million tickets in the UK alone, and over 16 million tickets in 28 countries worldwide.
Walking into the theatre it’s impossible not to notice the wide variety of people who are there to see the show. A large group of high school students, posing for pics with their tongues sticking out, couples on dates, senior citizens. The appeal of Queen reaches all generations, with their hit songs all showcased in this lively show: We are the Champions, Radio Ga Ga, Crazy Little Thing Called Love, Somebody to Love, Killer Queen, Don’t Stop Me Now, Under Pressure, Bohemian Rhapsody, Another One Bites The Dust and of course We Will Rock You.
A lot has changed in the world since We Will Rock You premiered, and the show has kept up. New cultural references pepper the witty dialogue: Twitter, Facebook, hashtags, Miley Cyrus and gangnam style all get a mention, as does Prince in the most moving moment of the show, a tribute to music stars lost too soon.
Several nods to their Australian audience also garnered plenty of laughs – Australian Idol (especially entertaining as Casey Donovan, playing the key role of Killer Queen was discovered on the show), Molly Meldrum, the Wiggles, John Farnham’s anthem “You’re The Voice” and even Canberra as a place no one wants to go.
The cast of We Will Rock You is superb and does an excellent job of performing iconic songs that had the audience cheering, clapping and waving their arms throughout the show. Gareth Keegan, in the lead role of “Gallileo Figaro” and Erin Clare as “Scaramouche” were particular scene stealers, with their exquisite vocals, dynamic stage presence, and genuine chemistry.
We Will Rock You is a show that endures because it’s not only entertaining, it’s also relevant – even more so today perhaps, than when it debuted in 2002. Yes, kids, get off social media, make a real friend instead of a Facebook one, and create real joy in your lives that makes your soul soar.
We Will Rock You is currently playing at the Lyric Theatre, Pyrmont.
Suitable from the age for 13 years and above
Thank you to We Will Rock You and Nuffnang for providing me with tickets for reviewing purposes.